sign in sign up
<<
Home , The Pickwick Papers

The Guide By Murray Horwitz and Richard Maltby, Jr. A Theatergoer’s Resource

Education & Community Programs Staff Kelsey Tyler Education & Community Programs Director Class and Fortune Clara Hillier -Click Here- Education Programs Coordinator RJ Hodde Community Programs Coordinator Coming Of Age: A Character Study Matthew B. Zrebski Resident Teaching Artist -Click Here-

Resource Guide Contributors Benjamin Fainstein Literary Manager The Costumes -Click Here- Mary Blair Production Dramaturg & Literary Associate Mikey Mann Graphic Designer Great Expectations on the Silver Screen -Click Here- PCS’s 2015–16 Education & Community Programs are generously supported by: An Interview with Director Jane Jones -Click Here-

Cast and Creative Team -Click Here-

PCS’s education programs are supported in part by a grant from the Oregon Arts Commission and the National Endowment for the Arts.

with additional support from Craig & Y. Lynne Johnston Holzman Foundation Mentor Graphics Foundation Juan Young Trust Autzen Foundation and other generous donors. About Great Expectations Born on February 7, 1812 to a Naval Pay Office clerk, A terrifying graveyard encounter with an escaped Dickens spent his early years in London, a period of his convict; a summons to meet the bitter, decaying life he would later describe as idyllic. His childhood Miss Havisham and her beautiful, cold-hearted came to an abrupt end when his family found ward Estella; the sudden generosity of an unknown themselves in debtor’s prison in 1824. At the age of 12, benefactor-this series of events changes the orphaned Dickens was sent to work twelve-hour days at a shoe Pip’s life forever, and he eagerly flees his humble polish factory to earn extra money for this family. The origins in favor of a new life as a gentleman in London. harsh working conditions made a lasting impression Dicken’s haunting late novel depicts Pip’s education on the young Dickens, undoubtedly shaping his and development through adversity as he discovers convictions on social reform, status and the corruption that having “expectations” is a double edged sword. of innocence — prevalent themes in his writing.

ex·pec·ta·tion In 1829, Dickens first tried his hand at writing as ekspek’t¯SH(ə)n/a e a freelance reporter at Doctor’s Commons Courts, eventually finding steady work at a newspaper. noun Dickens’ first published collection, , was a set of periodical sketches, the success • a strong belief that something will of which led to the serialization of his first novel, happen or be the case in the future.

The Papers. Released in monthly, two- “reality had not lived up to expectations” chapter installments, The Pickwick Papers was unprecedentedly popular, a publishing phenomenon, synonyms: supposition, assumption, presumption, launching Dickens’ literary career. conjecture, surmise, calculation, prediction, hope

Most of Dickens’ works, including , , , , A Tale of Two • a belief that someone will or should achieve something. Cities and Great Expectations, were published serially, explaining Dickens’ tendency towards cliff-hanger “students had high expectations for their future” chapter endings. Sudden plot twists and suspenseful foreshadowing ensured his audience would continue synonyms: supposition, assumption, presumption, to subscribe. Great Expectations, Dickens’ thirteenth conjecture, surmise, calculation, prediction, hope novel, was published weekly in the magazine from 1860-1861. • archaic one’s prospects of inheritance. At the age of 24, he married Catherine Hogarth and together they had ten children, but separated Book-It Repertory Theatre in 1858 due to, as Dickens himself described, being “temperamentally unsuited” for one another. Although Book-It creates world-premiere adaptations of classic charismatic and successful, Dickens is believed to have and contemporary literature for the stage, preserving had an insecure and difficult personality. the narrative text as it is spoken, not by a single “narrator” but as dialogue by the characters in the Over the course of his life, Dickens boasted a highly production. This technique was developed over the prolific career, writing more than 25 books, managing last 20 years and continues to be developed by Book- a theatrical company, traveling internationally, and It artists led by Founding Co-Artistic Directors, Jane attending scores of public readings, a demanding Jones and Myra Platt. Performing books instead of schedule that eventually took a tool on his physical plays allows the Book-It theatre experience to spark well-being. As his health deteriorated, and against his the audience’s interest in reading and to challenge the doctor’s advice, Dickens maintained his productive audience to participate by using their imaginations. fervor until he died from a stroke on June 9, 1870. Book-It’s unique style of acting and adapting books is trademarked, known as the Book-It Style™.Book-It has produced more than 90 world-premiere adaptations of literature. All adaptations are copyrighted.

2 Characters

Philip Pirrip (a.k.a. “Pip”) Magwitch/Jaggers Joe Gargery

Our hero A mysterious escaped prisoner/ Pip’s brother-in-law (played by Stephen Stocking) An immensely successful London (played by Gavin Hoffman) trial lawyer (played by John Hutton)

Miss Havisham/Mrs. Joe Compeyson/ Estella/Biddy A wealthy, reclusive spinster Orlick and others Miss Havisham’s adopted daughter/ (played by Dana Green) An intelligent orphan from Pip’s village. Magwitch’s fellow prison escapee/ (played by Maya Sugarman) Another of Joe’s blacksmithing apprentices. (played by Isaac Lamb)

Pumblechook/ Herbert Pocket Drummle Wemmick and others and others and others

Joe’s pompous, self-important uncle/ Pip’s friend and fellow student A young aristocrat The chief clerk for Jaggers of the gentlemanly arts (played by Sean McGrath) (played by Damon Kupper) (played by Chris Murray)

3 • The actors can see you. Imagine telling something Theater Etiquette to a group of fellow students who are slouching, Seeing a play is very different than seeing a movie. pretending to be bored, or sitting with their eyes During live theatre, the audience is as equally closed in attempt to seem disinterested or “too important as the actors on stage. Please share the cool” for what you had to say. Think about it: following points with your students, and encourage Even though the actors are pretending to be other them to practice good theater etiquette throughout characters, it is as much their job to “check in” the workshop. with the audience as it is to remember their lines. Since stage actors only get one chance to tell the story to each audience, they want to make sure to • Live response is good! If you tell a story to a friend and notice they aren’t responding, it makes you communicate clearly each and every performance. want to tell the story better. A live audience is as • Cell phones, beepers, candy wrappers, loud gum critical a component of the theatergoing experience smacking. Please turn off all cell phones and do not as the actors on stage. The more the audience eat or chew gum inside the theater. These things listens, laughs and responds, the more the actors disturb the people around you as well as the actors. want to tell the story. As much as you might be tempted to text a friend how cool the play is that you’re watching, please • The actors can hear you talking. Have you ever had a conversation with someone and felt that wait until after it is over. they’d rather be someplace else? This is the exact Many thanks to our colleagues at Montana feeling actors get when people in the audience Shakespeare in the Parks, from whom these are talking. If an audience member is not paying excellent etiquette suggestions have been adapted. attention, the actors know it.

Education Programs: GOALS: • Encourage personal connections between Stage Door students and the major themes of the play.

Our Education Programs provide young people • Excite students about the story and with opportunities to experience the art of theatre, theatrical elements in the production. to directly participate in its process, and to apply its collaborative principles elsewhere in their daily • Engage students using the actors’ tools: lives. Stage Door is an unforgettable opportunity body, voice, and imagination. for students to experience professional theatre in a context that supports their education. KEY CONCEPTS: The following activities have been constructed by our Teaching Artist to help students explore themes found • The Stations of Dickensian Life in our production of Great Expectations. We encourage • Language of Persuasion you to adapt these activities for your group as needed. • Break with Reality

4 Performance Warm-Up: Activity #1: Rock Paper Scissors Nirvana Status Cards The goal of this activity is to bridge independent-group Students will improvise the characterizations perspectives, and to engage participants physically. of community members with varying statuses, Social groupings and game-play connect this simple game to interacting. Students build communication Dickens’ themes of class structure and inherent competition. skills as they convey subtext, viewpoints and realistic reactions. HOW IT WORKS: • Everyone starts as a group of “eggs,” HOW IT WORKS: sitting/crouching on the floor. • Each participant selects a playing card from a standard deck, and does not look • Turning to the nearest student, participants will play at it. a quick round of Rock/Paper/Scissors. The winner transforms from “egg” to “animal” and can now crawl on • When the game begins, each player holds hands and knees. The loser, remains an “egg” until they can the back of their card to their chest or win a round and transform. forehead, in such a way that the holder of the card cannot see the face of the card. • The only way to transform is to win a round. Participants The value of a card should be a secret to can only challenge participants of the same class (“eggs” can the holder throughout the game. only challenge other “eggs”, “animals other “animals” etc.). • Then, as if at a party, players should • Each round, each participant should transform: downward mingle and respond/react to each person (unless they’re already eggs), or upward (until someone as the value of their held card. “2’s” should reaches Nirvana) be treated poorly, and “Face Cards” should be treated like royalty. • Egg – Animal – Human – Alien – Nirvana • Continue the activity until the majority of • Crouch – Hands/Knees – Upright Walking – participants feel confi dent that they “know Tiptoes with hands over head – End of game their place in the deck.”

• The game ends with everyone lining SAMPLE FOLLOW UP QUESTIONS: themselves up, shoulder-to-shoulder, in What did it feel like to only be able to challenge the ascending order of their value. people who were like you? Did the odds seem fair? What’s an example of a game wherein the odds are not even, not rigged, just biased? TIPS: Name the reason for the party so as to allow people to fall into familiar behavior. Call for silence during the game to emphasize physical and relational communication (and/or if dialogue gets aggressive). For added challenge, change the context of the scenario (e.g., birthday party, Royal funeral), participants will need to adjust without dropping their statuses.

REFLECTION/DISCUSSION: Which was your favorite (number) group to be around? If you had a card in real life, would it be of greater or lesser value than the one you drew? If you had a “real life” number, what would make it change? Would it stay the same regardless of context?

5 Activity #2: Work For It Activity #3: This activity focuses on the persuasive power of language. Participants will have to improvise, assess Montage in Time value, and portray emotions convincingly. This activity highlights themes of idea-fixation and the eroding effects time has on relevance and perspective. Participants will utilize value statements, HOW IT WORKS: characterization skills and collaborative storytelling. • Three students participate at a time. One “Needs,” one “Gets,” and one “Has.” HOW IT WORKS: • Standing on the same line, the person who “Needs” • Create a stadium-style audience, with a runway walk must convince the person who “Gets” to retrieve down the middle. [something] for them, from the person who “Has.” • One volunteer starts at one end of the runway • “Needs” must convince, sway, threaten, (storyline); they are going to mime/act as an bewitch “Gets” to do their bidding. With improvised character. Crowd source information each failed retrieval, the stakes must go up. about a character e.g., name, nickname, favorite • “Gets” will be bouncing back and forth, trying to [book], currently wearing, best day in their life. negotiate, swindle, cajole and convince the person • While gathering information, allow the volunteer to who “Has” to give up the goods. begin walking the runway in character, allowing the • “Has” must have specific reasons why the character to change to new information. [something] is more needed by “Has.” “Has” will • Stop the character walk, and ask/name/gather “what out-plead, and overwhelm “Gets,” and with each the character wants most in their life right now”. attempt, “Has” must raise the stakes. • Using the pathway as a timeline, “How close are they • Ultimately, “Has” holds out for as long as possible to getting it?” “How long will it take?” “What could get and perhaps never gives in. The exercise is in the in the way?” “What will be overlooked in pursuit?” tactics of persuasion. • Participants from the audience should join in from • Each player will need to use their most the audience to run alongside the scene, “being convincing language to persuade each other. passed by.” All language is improvised. • Allow for a few characters to be created, TIPS: portrayed and discussed. Push the urgency forward - allow for a rapport TIPS: to establish, and coach players to become more desperate/dire. Always encourage honest reactions Facilitate discussion toward major life events for and authentic responses. these characters, pivotal. Encourage flashes of moments/memories to be acted out and named, REFLECTION/DISCUSSION: a la movie montage. Which role felt most like your life? When/Where do REFLECTION/DISCUSSION: you feel the highest status? If you’re part of a family, the role you play may be due to age or birth-order. When was a time when you were so focused on a goal, Away from family, amongst peers, how do we agree that you missed out something else? When has the upon the roles in the activity? hope of a goal pulled you through the process?

6